The Bauhaus movement founded by Walter Gropius in Weimar, Germany The Bauhaus Movement in Weimar, Germany Bauhaus Museum in Weimar has display of modern furniture The origins of the Bauhaus movement of modern art and architecture date back to the controversial new school of arts and crafts which was established in Weimar in 1902 by the Belgian artist Henry van de Velde. Another art school had already been founded in 1860 which was also the subject of disputes. The pioneering architect Walter Gropius combined both schools into the Staatliches Bauhaus on April 1, 1919 to start the Bauhaus movement which spread around the world. In 1919, Weimar had become the center of new social and political ideas when the city was chosen as the place for the writing of the constitution of the new Republic proclaimed by the Social Democrats on Nov. 9, 1918. The central idea behind the teaching at the Bauhaus was productive workshops. The Bauhaus contained a carpenter's workshop, a metal workshop, a pottery in Dormburg, facilities for painting on glass, mural painting, weaving, printing, wood and stone sculpting.

The Bauhaus architecture featured functional design, as opposed to the elaborate Gothic architecture of Germany. Famous modern artists like Paul Klee, Lyonel Feininger and Kandinsky were invited to lecture at the school. Pictured below is Walter Gropius, the founder of the Bauhaus movement. Gropius was born in Berlin on May 18, 1883 and died in Boston on July 5, 1969. Gropius left the Bauhaus in 1928, worked as an architect in Berlin, then moved to London in 1934. In 1937, he was appointed the head of the architecture department at Harvard University. Walter Gropius, founder of Bauhaus school of architecture Rug on display in Bauhaus Museum At number 8 Geschwister-Scholl Strasse, is the Hochschule für Architektur and Bauwesen, which is the school for modern architecture and construction. At the present time, it has approximately 3,000 students.

The school is located in a seedy area of Weimar which would have to be described truthfully as a slum; the neighborhood is a testament to the failure of Communism in East Germany. The yellow house where Franz Liszt lived is just around the corner. All the famous buildings in Weimar are painted yellow, as though the town had a paint sale. I was told that the yellow color is taken from the leaves of the ginkgo tree in the fall. Weimar has many ginkgo trees, which were introduced by Goethe, who was a naturalist as well as a poet and writer. This school goes back to the Art School founded in 1860 and directed by Stanislaus Graf von Kalckreuth (1820 - 1894). In 1907, it was combined with the College of Arts and Crafts founded by Henry van de Velde and continued by Walter Gropius as the Staatliches Bauhaus in 1919. In 1925 it became the College of Trades and Architecture after the Bauhaus architects were run out of town by the right wing conservatives.

The school reopened as the State College of Architecture and Fine Arts in 1946 after the occupation of Weimar by the Communist Soviet Union. The Fine Arts was dropped in 1951. Between 1950 and 1962, the school included classes for the Communist workers and farmers in addition to building trades classes. The main building, pictured below, was built in 1911; it was designed by van de Velde. College of Architecture, Building and Construction in Weimar The Bauhaus, 1919–1933 | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Works of Art (10) Essay The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883–1969). Its core objective was a radical concept: to reimagine the material world to reflect the unity of all the arts. Gropius explained this vision for a union of art and design in the Proclamation of the Bauhaus (1919), which described a utopian craft guild combining architecture, sculpture, and painting into a single creative expression.

Gropius developed a craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living. The Bauhaus combined elements of both fine arts and design education. The curriculum commenced with a preliminary course that immersed the students, who came from a diverse range of social and educational backgrounds, in the study of materials, color theory, and formal relationships in preparation for more specialized studies. This preliminary course was often taught by visual artists, including Paul Klee ( 1987.455.16 ), Vasily Kandinsky (1866–1944), and Josef Albers ( 59.160 ), among others. Following their immersion in Bauhaus theory, students entered specialized workshops, which included metalworking, cabinetmaking, weaving, pottery, typography, and wall painting. Although Gropius’ initial aim was a unification of the arts through craft , aspects of this approach proved financially impractical. While maintaining the emphasis on craft, he repositioned the goals of the Bauhaus in 1923, stressing the importance of designing for mass production.

It was at this time that the school adopted the slogan “Art into Industry.” In 1925, the Bauhaus moved from Weimar to Dessau, where Gropius designed a new building to house the school. This building contained many features that later became hallmarks of modernist architecture, including steel-frame construction, a glass curtain wall, and an asymmetrical, pinwheel plan, throughout which Gropius distributed studio, classroom, and administrative space for maximum efficiency and spatial logic. The cabinetmaking workshop was one of the most popular at the Bauhaus. Under the direction of Marcel Breuer ( 1983.366 ) from 1924 to 1928, this studio reconceived the very essence of furniture, often seeking to dematerialize conventional forms such as chairs to their minimal existence. Breuer theorized that eventually chairs would become obsolete, replaced by supportive columns or air. Inspired by the extruded steel tubes of his bicycle, he experimented with metal furniture, ultimately creating lightweight, mass-producible metal chairs. Some of these chairs were deployed in the theater of the Dessau building.

The textile workshop, especially under the direction of designer and weaver Gunta Stölzl (1897–1983), created abstract textiles suitable for use in Bauhaus environments. Students studied color theory and design as well as the technical aspects of weaving. Stölzl encouraged experimentation with unorthodox materials, including cellophane, fiberglass, and metal. Fabrics from the weaving workshop were commercially successful, providing vital and much needed funds to the Bauhaus. The studio’s textiles, along with architectural wall painting, adorned the interiors of Bauhaus buildings, providing polychromatic yet abstract visual interest to these somewhat severe spaces. While the weaving studio was primarily comprised of women, this was in part due to the fact that they were discouraged from participating in other areas. The workshop trained a number of prominent textile artists, including Anni Albers (1899–1994), who continued to create and write about modernist textiles throughout her life. Metalworking was another popular workshop at the Bauhaus and, along with the cabinetmaking studio, was the most successful in developing design prototypes for mass production.

In this studio, designers such as Marianne Brandt ( 2000.63a-c ), Wilhelm Wagenfeld ( 1986.412.1-16 ), and Christian Dell (1893–1974) created beautiful, modern items such as lighting fixtures and tableware. Occasionally, these objects were used in the Bauhaus campus itself; light fixtures designed in the metalwork shop illuminated the Bauhaus building and some faculty housing. Brandt was the first woman to attend the metalworking studio, and replaced László Moholy-Nagy ( 1987.1100.158 ) as studio director in 1928. Many of her designs became iconic expressions of the Bauhaus aesthetic. Her sculptural and geometric silver and ebony teapot ( 2000.63a-c ), while never mass-produced, reflects both the influence of her mentor, Moholy-Nagy, and the Bauhaus emphasis on industrial forms. It was designed with careful attention to functionality and ease of use, from the nondrip spout to the heat-resistant ebony handle.

The typography workshop, while not initially a priority of the Bauhaus, became increasingly important under figures like Moholy-Nagy and the graphic designer Herbert Bayer ( 2001.392 ). At the Bauhaus, typography was conceived as both an empirical means of communication and an artistic expression, with visual clarity stressed above all. Concurrently, typography became increasingly connected to corporate identity and advertising. The promotional materials prepared for the Bauhaus at the workshop, with their use of sans serif typefaces and the incorporation of photography as a key graphic element, served as visual symbols of the avant-garde institution. Gropius stepped down as director of the Bauhaus in 1928, succeeded by the architect Hannes Meyer (1889–1954). Meyer maintained the emphasis on mass-producible design and eliminated parts of the curriculum he felt were overly formalist in nature. Additionally, he stressed the social function of architecture and design, favoring concern for the public good rather than private luxury. Advertising and photography continued to gain prominence under his leadership. Under pressure from an increasingly right-wing municipal government, Meyer resigned as director of the Bauhaus in 1930.

He was replaced by architect Ludwig Mies van der Rohe ( 1980.351 ). Mies once again reconfigured the curriculum, with an increased emphasis on architecture. Lily Reich (1885–1947), who collaborated with Mies on a number of his private commissions, assumed control of the new interior design department. Other departments included weaving, photography, the fine arts, and building. The increasingly unstable political situation in Germany, combined with the perilous financial condition of the Bauhaus, caused Mies to relocate the school to Berlin in 1930, where it operated on a reduced scale. He ultimately shuttered the Bauhaus in 1933. During the turbulent and often dangerous years of World War II, many of the key figures of the Bauhaus emigrated to the United States, where their work and their teaching philosophies influenced generations of young architects and designers. Marcel Breuer and Walter Gropius taught at Harvard. Josef Albers and his wife Anni Albers taught at Black Mountain College, and later Josef taught at Yale. Moholy-Nagy established the New Bauhaus in Chicago in 1937.

Mies van der Rohe designed the campus and taught at the Illinois Institute of Technology. Alexandra Griffith Winton The Bauhaus Located in Weimar (1919-1925) and in Dessau (1925-1930) The Bauhaus, a school of design in Germany, was founded in 1919 by architect Walter Gropius (with the help of others). The new school came from the idea of fusing two well-know German schools of art into a state school. The two schools fused together were: the old Weimar Academy of Fine Arts and the Decorative Arts School. So, what was actually different about the new Bauhaus school, compared to the two old schools of art that had been fused together? The ideas of the school were rooted in the late 19th century Arts and Crafts movement, which was mainly a revolution against materialism, founded in the industrial revolution in Great Britain. At the new school simple design with geometrical pure forms were being taught. Because of this one could almost call the Bauhaus movement a "back to basics movement" within the art. Gropius also stressed the importance of creativity.

He wanted the students to think for themselves and to come up with their own ideas. However, Gropius wanted to narrow the gap between the common people and the arts, and he also wanted furniture etc. to be plainly constructed and cheap to buy. He wanted everything to be planned and organized beforehand. For example, even the painters had to plan exactly what they were going to do before they started painting. Gropius also wanted a fusion between the different types of artwork, so at the new school the professors taught: ceramics, crafts, fine Arts, photography, architecture, painting and industrial design etc. It was also of importance to Gropius to lessen the gap between the artistic side and the technological side of a finished product-Gropius was striving for unity. "The Bauhaus credo [was] that the artist, the craftsman, and the technician must be one" p. 719 Colliers Encyclopedia, volume two, 1993. Yes, one can definitely say that the beginning of the Bauhaus era was a real success. Many famous artists like Josef Albers , Ludwig Mies Van Der Rohe , Wassily Kadinsky and Laszlo Moholy-Nagy, worked at the Bauhaus.

After a few years though, problems arose when some conservative members of the Weimar senate thought the school was turning into a socialistic state school. The senate decided to withdraw their support and the Bauhaus had to relocate to the city of Dessau in Germany. In 1928 Hannes Meyer became the leader of the Bauhaus school of art in Deassau, but the program did not really change under his leadership. Meyer's claim to fame, however, did not come from his leadership position at the Bauhaus; it came from the known fact that he officially accepted communism, which he showed in his willingness to spend money on a blue-collar strike. A few years later, in 1931, Ludwig Mies Van Der Rohe became to leader of the Bauhaus, and he stayed there during the last two years of its existence. Because of some difficulties, with the support of the school, he moved it to Berlin where he tried to run the school as a private institution until the Nazis finally closed it down. But even if the Bauhaus was closed down in Germany it mushroomed in other countries like the U.S., where some of the faculty and students of the Bauhaus school of art in Germany had emigrated.

The central ideas of the Bauhaus were and still are alive! Bauhaus - Monoskop Bauhaus Jump to: navigation , search Walter Gropius, Programm des Staatlichen Bauhauses in Weimar, Apr 1919. 4 p., 32 cm. Cover by Lyonel Feininger. Download (22 MB). Source . Walter Gropius, Schema zum Aufbau der Lehre am Bauhaus, 1922. Louis Held, Bauhaus Party at the Gaststätte Ilmschlösschen Tavern near Weimar, 29 November 1924. [1] Teachers on the Roof of the Bauhaus Studio Building in Dessau, c1926. L-R: Albers, Scheper, Muche, Moholy-Nagy, Bayer, Schmidt, Gropius, Breuer, Kandinsky, Klee, Feininger, Stölzl, Schlemmer. The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius. Its core objective was a radical concept: to reimagine the material world to reflect the unity of all the arts.

Gropius explained this vision for a union of crafts, art and technology in the Programm des Staatlichen Bauhauses Weimar (1919), which described a utopian craft guild combining architecture, sculpture, and painting into a single creative expression [Gesamtkunstwerk]. Gropius developed a curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living. Contents 10 Links The Bauhaus combined elements of both fine arts and design education. The curriculum commenced with a preliminary course that immersed the students, who came from a diverse range of social and educational backgrounds, in the study of materials, colour theory, and formal relationships in preparation for more specialized studies. This preliminary course was often taught by visual artists, including Johannes Itten, László Moholy-Nagy , Josef Albers , Paul Klee , and Wassily Kandinsky , among others. The workshops included metalworking, weaving, ceramics, carpentry, graphic printing, printing and advertising, photography, glass and wall painting, stone and wood sculpture, and theatre.

Among the teachers were also Herbert Bayer, Marcel Breuer, Hinnerk Scheper, Joost Schmidt, Gunta Stölzl, and Walter Peterhans. (More about the workshops , classes , and teachers and students .) In 1925, the Bauhaus moved from Weimar to Dessau. Gropius stepped down as director of the Bauhaus in April 1928, succeeded by the architect Hannes Meyer. Under pressure from an increasingly right-wing municipal government, Meyer resigned as director of the Bauhaus in 1930. He was replaced by architect Ludwig Mies van der Rohe. The political situation in Germany, combined with the perilous financial condition of the Bauhaus, caused Mies to relocate the school to Berlin in September 1932, where it operated on a reduced scale. The Bauhaus eventually dissolved itself under pressure from the Nazis in 1933. During the years of World War II, many of the key figures of the Bauhaus emigrated to the United States, where their work and their teaching philosophies influenced generations of young architects and designers.

Marcel Breuer and Josef Albers taught at Yale, Walter Gropius went to Harvard, and Moholy-Nagy established the New Bauhaus in Chicago in 1937. [2] [3] Books[ edit ] The following nine PDFs are linked from the Bibliothèque Kandinsky which published them online on an unknown date (follow this link to explore the respective entries on its website). This is an important milestone in the digitisation of essential but hard-to-get art publications for the public use and we would like to express our gratitude and appreciation. <3 ! The whole set of these high-quality digital facsimiles is about 1 GB large, if anyone feels like starting a torrent to relieve bandwidth of the library let us know and we'll include your link here. (17 Aug 2014). Update: you can now download the whole set in a single ZIP file from here . Thanks to Gabriel Benderski. (29 Aug 2014) 1. Walter Gropius (ed.), Internationale Architektur, 1925. 111 p., 23 cm. Download (111 MB). 2.

Paul Klee, Pädagogisches Skizzenbuch, 1925. 50 p., 23 cm. Download (33 MB). 4. Die Bühne im Bauhaus, 1924. 84 p., 23 cm. Download (72 MB). 7. Neue Arbeiten der Bauhauswerkstätten, 1925. 115 p., 23 cm. Download (118 MB). 8. L. Moholy-Nagy, Malerei, Fotografie, Film, 2nd ed., 1927. 140 p., 23 cm. Download (131 MB). 9. Kandinsky, Punkt und Linie zu Fläche: Beitrag zur Analyse der malerischen Elemente, 1926. 190 p., 23 cm. Download (134 MB). 10. J.J.P. Oud, Holländische Architektur, 1929. 107 p., 23 cm. Download (89 MB). 11.

Kasimir Malewitsch, Die gegenstandslose Welt, 1927. 104 p., 24 cm. Download (84 MB). 12. Walter Gropius, Bauhausbauten Dessau, 1930. 221 p., 23 cm. Download (222 MB). 1. Walter Gropius (ed.), Internationale Architektur , Munich: Albert Langen, 1925, 111 pp. 2. Paul Klee, Pädagogisches Skizzenbuch , Munich: Albert Langen, 1925, 50 pp. Pedagogical Sketchbook , intro. & trans. Sibyl Moholy-Nagy, New York: Frederick A. Praeger, 1953, 65 pp; 1960. (English) 4. Die Bühne am Bauhaus , Munich: Albert Langen, 1925, 84 pp. The Theater of the Bauhaus , trans. Arthur S. Wensinger, Middletown, Conn.: Wesleyan University Press, 1961.

(English) 5. Piet Mondrian, Neue Gestaltung, Neoplastizimus, Nieuwe Beelding , Munich: Albert Langen, 1925, 66 pp. 6. Theo van Doesburg, Grundbegriffe der neuen gestaltenden Kunst, Munich: Albert Langen, 1925. Principles of Neo-Plastic Art, London: Lund Humphries, 1969. (English) 7. Walter Gropius (ed.), Neue Arbeiten der Bauhauswerkstäffen , Munich: Albert Langen, 1925, 115 pp. 8. L. Moholy-Nagy, Malerei, Fotografie, Film , Munich: Albert Langen, 1925, 115 pp; 2nd ed., 1927, 140 pp. Incl. "Dynamik der Gross-Stadt" , pp 116-129. Painting Photography Film , trans. Janet Seligman, London: Lund Humphries, 1969. (English) more translations 10. J.J.P.

Oud, Holländische Architektur , Munich: Albert Langen, 1929, 107 pp. 11. Kasimir Malewitsch, Die gegenstandslose Welt , Munich: Albert Langen, 1927, 104 pp; new ed., exp., Mainz: Florian Kupferberg, 1980. Russian original written in 1923. The Non-Objective World, trans. Howard Dearstyne, Chicago: P. Theobald, 1959, 102 pp. (English) more translations 12. Walter Gropius, Bauhausbauten Dessau , Munich: Albert Langen, 1930, 221 pp. 13. Albert Gleizes, Kubismus, Munich: Albert Langen, 1928, 101 pp; repr. in Gleizes, Puissances du cubisme, 1969; repr., Mainz and Berlin: Florian Kupferberg, 1980. Written 1925-28. more translations 14.

László Moholy-Nagy, Von Material zur Architektur , Munich: Albert Langen, 1929, 241 pp; facsimile repr., Mainz and Berlin: Florian Kupferberg, 1968, 251 pp. The New Vision: From Material to Architecture, trans. Daphne M. Hoffman, New York: Breuer Warren and Putnam, 1930; exp.rev.ed. as The New Vision and Abstract of an Artist , New York: George Wittenborn, 1947, 92 pp. (English) bauhaus 1:1 (4 Dec 1926). PDF (16 mb). bauhaus 1:2 (24 Apr 1927). PDF (16 mb). bauhaus 1:3 (10 Jul 1927). PDF (17 mb). bauhaus 1:4 (24 Oct 1927). PDF (16 mb). bauhaus: zeitschrift für bau und gestaltung 2:1 (15 Feb 1928). PDF (24 mb).

bauhaus: zeitschrift für gestaltung 2:2/3 (1 Jul 1928). PDF (45 mb). bauhaus: zeitschrift für gestaltung 2:4 (1 Oct 1928). PDF (45 mb). bauhaus: zeitschrift für gestaltung 3:1 (1 Jan 1929). PDF (42 mb). bauhaus: zeitschrift für gestaltung 3:2 (15 May 1929). PDF (42 mb). bauhaus: zeitschrift für gestaltung 3:3 (15 Jul 1929). PDF (44 mb). bauhaus: zeitschrift für gestaltung 3:4 (15 Nov 1929). PDF (42 mb). bauhaus: zeitschrift für gestaltung 4:1 (Jan 1931). PDF (5 mb). bauhaus: zeitschrift für gestaltung 4:2 (Jul 1931). PDF (15 mb).

The above PDFs were assembled from scans on IADDB.org , with the exception of 4(2) which is sourced from Baunet Reader . Beinecke Rare Book and Manuscript Library hosts partial scan of 1(1), and Baunet Reader offers different versions of 2(1) and 3(1-3) as PDFs. The issue 4(3) from December 1931 is not yet online. bauhaus, zeitschrift für gestaltung, eds. Walter Gropius and Laszlo Moholy-Nagy (1:1-2:1), Ernst Kállai (2:2/3-3:4), Ludwig Hilberseimer (4:1), Josef Albers (4:2), W. Kandinsky (4:3), 14 issues, Dessau, 1926-31; repr., Nendeln: Klaus Reprint, 1977. Staatliches Bauhaus Weimar, 1919-1923, 1923. Download (325 MB). Source .

(in German unless noted) Walter Gropius, Programm des Staatlichen Bauhauses Weimar , Weimar, April 1919, 4 pp. "Program of the Staatliche Bauhaus in Weimar" , in Hans M. Wingler, The Bauhaus : Weimar, Dessau, Berlin, Chicago, MIT Press, 1981, pp 31-33. (English) Satzungen des Staatlichen Bauhauses zu Weimar, Weimar, 1921. Bruno Adler (ed.), Utopia. Dokumente der Wirklichkeit, 2 vols., Weimar, 1921, 85 pp. [4] Die Bauhausbühne. Leitung: Lothar Schreyer. Erste Mitteilung, Weimar, 1922. Walter Gropius, Idee und Aufbau des staatlichen Bauhauses Weimar , Munich: Bauhausverlag, 1923, 12 pp.

Neue Europäische Graphik 1921-1923, Potsdam: Müller 8, 1923. Staatliches Bauhaus Weimar, 1919-1923 , Weimar and Munich: Bauhausverlag, 1923, 225 pp, PDF . Pressestimmen für das Staatliche Bauhaus Weimar, Weimar, 1924; repr., Nendeln: Klaus Reprint, 1980. Walter Gropius, Die bisherige und zukünftige Arbeit des Staatlichen Bauhauses Weimar, Weimar, 1924. A. Bodenthal, bauhaus dessau - hochschule für gestaltung, Dessau, 1928. Bauhaus Photography, 1985, Log , PDF . Walter Gropius, The New Architecture and the Bauhaus , trans. P. Morton Shand, London: Faber and Faber, 1935; MIT Press, 1965.

(English) Translated from the manuscript in German entitled Die neue Architektur und das Bauhaus. Grundzüge und Entwicklung einer Konzeption. Herbert Bayer, Walter Gropius, Ise Gropius (eds.), Bauhaus 1919–1928 , New York: Museum of Modern Art, 1938, 224 pp. (English) Hans M. Wingler, Das Bauhaus 1919–1933. Weimar, Dessau, Berlin und die Nachfolge in Chicago seit 1937, Cologne: DuMont, and Bramsche: Rasch, 1962; exp.ed., 1968; 3rd ed., 1975. (German) The Bauhaus: Weimar, Dessau, Berlin, Chicago, MIT Press, 1969; 1975; 1978. (English) trans. into Japanese (Tokyo, 1969); Italian (Milan, 1971); Spanish (Barcelona, 1975).

Enzo Collotti, et al., Bauhaus , trans. Dolores Fonseca, Madrid: Alberto Corazón, 1971, 226 pp. (Spanish) Bauhaus , Stuttgart: Institut für Auslandsbeziehungen, 1976, 251 pp. Catalogue. [5] (Spanish) Hans Heinz Stuckenschmidt, Musik am Bauhaus , Berlin: Bauhaus-Archiv, 1978, 20 pp. A lecture given 11 May 1976 at Bauhaus-Archiv, Berlin. (German) RoseLee Goldberg, "Bauhaus Performance: 'Art and Technology: a New Unity'", ch 5 in Goldberg, Performance: Live Art 1909 to the Present , New York: Harry N. Abrams, 1979, pp 63-78. (English) Bauhaus Fotografie, eds. Egidio Marzona and Roswitha Fricke, Düsseldorf: Marzona, 1982. Contains 500 photographs and selected texts. (German) Bauhaus Photography , trans.

Harvey Mendelsohn and Frederick Samson, MIT Press, 1985, xi+315 pp. (English) Bauhaus School at Weimar | World History Project 1919 to 1925 Bauhaus School at Weimar The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906 and directed by Belgian Art Nouveau architect Henry van de Velde. When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist and August Endell as possible successors. In 1919, after delays caused by the destruction of World War I and a lengthy debate over who should and socio-economic reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus.

In the pamphlet for an April 1919 exhibition entitled "Exhibition of Unknown Architects", Gropius proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius' neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons. The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer Oskar Schlemmer who headed the theater workshop, and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky.

A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky. From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or 'preliminary course' that was the introduction to the ideas of the Bauhaus. Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel. He was also influenced in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922.

Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.

Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, without the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the "Völkisch movement", instead declaring "we want an architecture adapted to our world of machines, radios and fast cars." Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic pretensions. The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher".

Since the country lacked the quantity of raw materials that the United States and Great Britain had, they had to rely on the proficiency of its skilled labor force and ability to export innovative and high quality goods. Therefore designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with the industry. Weimar was in the German state of Thuringia, and the Bauhaus school received state support from the Social Democrat-controlled Thuringian state government. From 1923 the school in Weimar came under political pressure from right-wing circles, until on December 26, 1924 it issued a press release accusing the government and setting the closure of the school for the end of March 1925. In February 1924, the Social Democrats lost control of the state parliament to the Nationalists.[citation needed] The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. They had already been looking for alternative sources of funding. After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar.

This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus University Weimar. Bauhaus School Bauhaus School The beginning and the goals of Bauhaus Bauhaus: [Ger., lit. “architecture house”, from Bau = building (bauen=to build) + Haus = house.] Contemporary German architecture set its main trends in the first thirty years of the 20th century. The strongest influences came from Weimar and Dessau, where the Bauhaus school was founded in 1919. Under the leadership of Walter Gropius (1883-1969) and Ludwig Mies van der Rohe (1886-1969), the Bauhaus style spread to the far corners of the earth. Today masterpieces of its synthesis of architecture, technology and functionality can be found all over the world. One of the main goals of Bauhaus was to renew architecture. The leaders of Bauhaus, Walter Gropius, Hannes Meyer, Ludwig Mies van der Rohe, were architects. The origins of Bauhaus were far from the earlier methods of education in industrial art, art proper and architecture.

Its program was based on the newest knowledge in pedagogy. The idealistic basis of Bauhaus was a socially orientated program: – an artist must be conscious of his social responsibility to the community, – on the other hand, the community has to accept the artist and support him. But above all the intention of Bauhaus was to develop creative minds for architecture and industry and thus influence them so that they would be able to produce artistically, technically and practically balanced utensils. The institute included workshops for making models of type houses and all kinds of utensils, and departments of advertising art, stage planning, photography, and typography. The neoplastic and constructive movements of art to a great extent steered the form lines of Bauhaus. Teachers were such masters of modern art as Wassily Kandinsky and Paul Klee. To better understand the aims of the Bauhaus school, one has to read the following extracts from Walter Gropius’ Manifesto: “The ultimate aim of all creative activity is a building! The decoration of buildings was once the noblest function of fine arts, and fine arts were indispensable to great architecture. Today they exist in complacent isolation, and can only be rescued by the conscious co-operation and collaboration of all craftsmen.

Architects, painters, and sculptors must once again come to know and comprehend the composite character of a building, both as an entity and in terms of its various parts. Then their work will be filled with that true architectonic spirit which, as “salon art”, it has lost.” … “Architects, painters, sculptors, we must all return to crafts! For there is no such thing as “professional art”. There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman.” … “Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form.” Often associated with being anti-industrial, the Arts and Crafts Movement had dominated the field before the start of the Bauhaus in 1919. The Bauhaus’ focus was to merge design with industry, providing well designed products for the many. The basic idea of the Bauhaus teaching concept was the unity of artistic and practical tuition.

Every student had to complete a compulsory preliminary course, after which he or she had to enter a workshop of his or her choice. There were several types of workshops available: metal, wood sculpture, glass painting, weaving, pottery, furniture, cabinet making, three-dimensional work, typography, wall painting, and some others. It was not easy to get general allowances for the new type of art education. A political pressure was felt from the beginning. In 1925 the Thueringer government withdrew its economic support from the education. Bauhaus found a new location in Dessau. The city gave Gropius building projects: a school, workshop and atelier building (1925-1926) has remained in history by the name ‘Bauhaus Dessau’. In October 1926, the school was officially accredited by the government of the Land, and the masters were promoted to professors. Hence, the Bauhaus obtained the subtitle “School of Design”. The training course from then on corresponded to university studies and led to a Bauhaus Diploma. Later this year, because of some political and financial difficulties, the Bauhaus center could no longer remain in Weimar and was closed.

In April 1925, Bauhaus resumed its work in Dessau. Personal relations in Bauhaus were not as harmonious as they may seem now, half a century later. The Swiss painter Itten and the Hungarian Laszlo Moholy-Nagy, who taught the Preliminary Course, left after strong disagreements in 1928, Paul Klee – in 1931. Some, for instance Kandinsky and Albers, stayed loyal until the closing of Bauhaus in 1933. In spite of the success, Gropius left the Bauhaus leadership in 1928. His successor was the Swiss architect Hannes Meyer. He promoted the scientific development of the design training with vigor. However, Meyer failed as leader due to political disagreement inside Bauhaus. He was dismissed in 1930. The German architect Ludwig Mies van der Rohe was invited as director. He was compelled to cut down on the educational program. Practical work was reduced. Bauhaus approached a type of ‘vocational university’. It began to loose the splendid universality that had made it so excellent. Training of vocational subjects started to dominate the initial steps of education.

As a matter of fact this tendency became stronger after that Mies van der Rohe had transformed the school into a private institute in Berlin in 1932. In 1933 the Nazi government closed the Bauhaus school. Related articles: The Bauhaus and America | The MIT Press The Bauhaus and America By Margret Kentgens-Craig Overview The Bauhaus school was founded in Weimar in 1919 by the German architect Walter Gropius, moved to Dessau in 1925 and to Berlin in 1932, and was dissolved in 1933 by Ludwig Mies van der Rohe under political duress. Although it existed for a mere fourteen years and boasted fewer than 1,300 students, its influence is felt throughout the world in numerous buildings, artworks, objects, concepts, and curricula.After the Bauhaus's closing in 1933, many of its protagonists moved to the United States, where their acceptance had to be cultivated.

The key to understanding the American reception of the Bauhaus is to be found not in the émigré success stories or the famous 1938 Bauhaus exhibition at the Museum of Modern Art, but in the course of America's early contact with the Bauhaus. In this book Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing. Thus the history of the American reception of the Bauhaus in the 1920s and 1930s foreshadows the patterns of fame-making that became typical of the post-World War II art world. The transfer of artistic, intellectual, and pedagogical concepts from one cultural context to another is a process of transformation and integration. In presenting a case study of this process, the book also provides fresh insights into the German-American cultural history of the period from 1919 to 1936.

About the Author Margret Kentgens-Craig is the former Head of the Department of Archives and Collections at the Bauhaus Dessau Foundation, Germany. Endorsements A Description of the Bauhaus Who Was Founded in 1919 By an Architect Named Walter Gropius | Kibin A Description of the Bauhaus Who Was Founded in 1919 By an Architect Named Walter Gropius Sign Up & Access Essays Already a member? Login here Pages: 2 This preview is partially blurred. Sign up to view the full document. Sign Up & Access Essays Already a member? Login here End of preview Upgrade to view the full document This is an unformatted preview.

Sign up to view the full document End of preview Upgrade to view the full document The Bauhaus was founded in 1919 by an architect named Walter Gropius Gropius came from the Werkbund movement which sought to integrate art and economics and to add an element of engineering to art The Werkbund movement was unable to achieve this integration but the founding of the Bauhaus saw the solution that had previously been overlooked The Bauhaus was founded by the combining of the Weimar Art Academy and the Weimar Arts and Crafts School Students at this new school were trained by both an artist and a master craftsman realizing the desires of Gropius to make modern artists familiar with science and economics that began to unite creative imagination with a practical knowledge of craftsmanship and thus to develop a new sense of functional designThe school had three aims at its inception that stayed basically the same throughout the life of the Bauhaus even though the direction of the school changed significantly and repeatedly The first aim of the school was to rescue all of the arts from the isolation in which each then found itself to encourage the individual artisans and craftsmen to work cooperatively and combine all of their skills Secondly the school set out to elevate the status of crafts chairs lamps teapots etc to the same level enjoyed

 by fine arts painting sculpting etc The third aim was to maintain contact with the leaders of industry and craft in an attempt to eventually gain independence from government support by selling designs to industry With these at its basis the Bauhaus began and influenced our lives immensely in ways that most people probably take for granted Since the school tried to combine art with engineering and craftsmanship innovation ran rampant through the Bauhaus resulting in a multitude of advances affecting the most basic aspects of life Everyone sitting on a chair with a tubular steel frame using an adjustable reading lamp or living in a house partly or entirely constructed @Kibin is a lifesaver for my essay right now!!

- Sandra Slivka, student @ UC Berkeley Wow, this is the best essay help I've ever received! - Camvu Pham, student @ U of M If I'd known about @Kibin in college, I would have gotten much more sleep - Jen Soust, alumni @ UCLA Bauhaus – theFactory Jan 2012 Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally “house of construction” stood for “School of Building”. The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a ‘total’ work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.

The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. WriteDesign - Historical and Cultural Context - Bauhaus Historical and Cultural Context Bauhaus Bauhaus (1919 - 1933) The first aim of the school was to "rescue all of the arts from the isolation in which each then found itself." Bau|haus (bou'hous'), n.

a school founded in 1919 by Walter Gropius at Weimar, Germany, and later located successively at Dessau, Berlin, and Chicago, to develop a functional architecture based on a correlation between creative design and modern industry and science. German Bauhaus: bauen = build + Haus = house. The Bauhaus began with an utopian definition: "The building of the future" was to combine all the arts in ideal unity. Gropius believed that artists and architects should be considered as craftsmen and that their creations should be practical and affordable. Bauhaus students included artists, architects, potters, weavers, sculptors and designers who studied together in workshops as had the artists and artisans of the Renaissance. The characteristic Bauhaus style was simple, geometrical and highly refined. In 1933 the school was closed by the Nazi government claiming that it was a centre of communist intellectualism. Although the school was physically dissolved, its staff continued to teach its ideals as they left Germany and emigrated all over the world. (The Art Book, p.506) Legacy The Bauhaus firmly establish industrial design. It stripped away the decoration, and left clean lines of function.

To some this represents the removal of all that is human in the crafts. To the teachers and followers of the involved in the Bauhaus, function was the primary concern, removing the past was a secondary consequence. The Bauhaus ushered in the modern era of design. While there were similar movements, such as the de Stijl, the Bauhaus has become the symbol of modern design. It did achieve many of Gropius's goals. It left a legacy for visual communication programs, art and design schools to follow. Many of these schools use the courses developed at the Bauhaus. Events that shaped the arts from 1918 to 1933. | Top 1918 - On 9 November 1918 a republic was proclaimed in Berlin under the moderate socialist Friedrich Ebert. An elected National Assembly met in January 1919 in the city of Weimar and agreed on a constitution. 1918 - German-Russian Brest-Litovsk treaty ended World War One on Eastern Front. Bolshevik Party secret resolution and expression of opposition.

When the war ended on the Western front, Russia disavowed its own treaty of peace with Germany ( ~kimball/sac.1917.1920.htm#1918no11 ). 1918 - Russian tsar Nicholas II and his family gunned down in captivity ( ~kimball/sac.1917.1920.htm ) 1918 - Beginning with David Lloyd George, war-time Minister of Defense and Prime Minister, English labor movement adopted radical and social democratic positions in the post-WW1 years ( ~kimball/sac.1917.1920.htm ). 1919 - India, Madras. Leader of anti-imperialist movement in India, Mohandas Gandhi published Indian Home Rule ( ~kimball/sac.1917.1920.htm ). Top 1919 - France. Versailles peace conferences took place over a six month period. None of the defeated Central Powers were invited to the conferences, and the ex-ally Russia, now a revolutionary Soviet state, did not participate.

The angry, insecure and (except the USA) damaged allies set out to remake Europe on their own ( ~kimball/sac.1917.1920.htm ). 1919 - Ireland, Dublin. Sinn Fein Congress adopted declaration of independence from England ( ~kimball/sac.1917.1920.htm ). 1919 - USA, Seattle General Strike, growing labor militancy ( ~kimball/sac.1917.1920.htm ). 1919 - Das Cabinet des Dr. Caligari is the masterpiece of German Expressionist film. One of the most admired and influential motion pictures of all time, Caligari has achieved the status of a cultural icon. Even those who have never seen the movie immediately recognize the haggard forms of Conrad Veidt as Cesare and Werner Krauss's Caligari, a representation of crazed totalitarianism foreshadowing the advent of the Third Reich.

coincidence - the sources of inspiration for this presentation come from an eye-opening visit to the Simon Wiesenthal Center - Museum of Tolerance , a prophetic look at the upcoming millennium, an on-going discussion about artists' expression of the times, and a deep-rooted desire to provide a forum for collaboration.- Top Weimar Republic (1919 - 1933) 1919 - Versailles Peace Settlement, involving the loss of continental territory and of all overseas colonies and the likelihood of a vast reparations debt, the terms being so unpopular as to provoke a brief right-wing revolt, the Kapp putsch. 1923 - The country was unable to meet reparation costs, and the mark collapsed, whereupon France and Belgium occupied the Ruhr in 1923, while in Bavaria right-wing extremists (including Hitler and Ludendorff) became more active. Hitler and the Nazis hatched a plot in which they would kidnap the leaders of the Bavarian government and force them at gunpoint to accept Hitler as their leader.

Then, according to their plan, with the aid of famous World War One General Erich Ludendorff, they would win over the German army, proclaim a nationwide revolt and bring down the German democratic government in Berlin. 1929 - Discontented financial and industrial groups in the German National Party allied with Hitler's Nazi Party to form a powerful opposition. 1932 - As unemployment developed, support for this alliance grew, perceived as the only alternative to communism. In the presidential elections of 1932 Hitler gained some 13 million votes, exploiting anti-communist fears and anti-Semitic prejudice, although Hindenburg was himself re-elected. 1933 - Hindenburg was persuaded to accept Hitler as Chancellor. 1933 - Hitler declared a state of emergency (28 February 1933) and, on Hindenburg's death in 1934, made himself President and proclaimed the Third Reich.

Question: Which architect found the Bauhaus School in Weimar in 1919?
Answer: (Walter) Gropius